The game Limbo was originally released in 2010, and quickly garnered much critical acclaim for its combination of fluid gameplay, beautiful art style, and evocative sound design. The 2011 DS interview with Sound Designer Martin Stig Andersen gives great insight into the creative decisions he made to bring the game’s world to life.
Now over three years later, Audiokinetic – the makers of Wwise – have announced they will be holding a “Limbo Redux” contest. This is your chance to step into Andersen’s shoes and craft your own vision for the game’s sound design… and win some great prizes to boot!
The contest runs from now through January 14, 2014, and will award one ‘Best in Show’ winner, as well as two runners-up. The winners will be announced at the Game Developers Conference in San Francisco, and on Audiokinetic’s website on January 17th, 2014. For details about the contest, prizes, and entry rules, please check the Audiokinetic website.
Last year, Skywalker Sound’s Gary Rydstrom, joined for the first time the roster at View Conference – Italy’s leading computer graphics symposium – following Randy Thom in 2011. His feature presentation was called UNEXPECTED SOUNDS. The 19th October 2012, inside the Cavour Hall, at the conference center “Torino Incontra”, professionals and sound lovers coming from different countries, gathered to be part of this unique moment.
Now, we have the opportunity to present here at Designing Sound, the polished session of Gary at VIEW. The recording I made directly from the console to my Zoom H4 has been possible thanks to Maria Elena Gutierrez, director of the Festival. In this one-hour podcast, Gary talks about the art of sound design and illustrates how sound is being used and how it can be better used to tell stories. You’ll listen to many examples of raw sound effects recordings, designed sounds, and mixes from Pixar films, and live-action films such as “T2,” “Jurassic Park” and “War Horse”.
Enjoy… and thanks Gary for your invaluable experience!
Thanks go out to both Matteo Milani and Gary Rydstrom for allowing us to share this with the community!
Kinokophone is an art collective with sound at it’s heart, producing interesting and unique sound installations and listening experiences.
Both Amanda Belantara and Jon Tipler were kind enough to spare some time to talk about their work currently taking place on both sides of the Atlantic. Read More
Guest Contribution by Rob Warren.
One of the most important aspects of audio production is the workflow.
No matter which DAW you use, workflow is critical to creating smooth and fast production. Setting up and accessing pre-made templates is easily one of the most effective ways to save time and effort, which in business, is money.
Workflow can be described as the fastest, most fluid means of getting from point A to point B. I have several different types of workflow that I use when I’m working, and I use different DAWs, depending on the job at hand. For example, if I’m composing music, I typically use Logic Pro, and I have probably 30 or so pre-designed templates based on what type of music I’ll be writing (orchestral, rock, electronic etc). The tracks within the templates are generally organized by instrument or instrument types, and then placed in Track Stacks (Logic’s term for bus groups). These group tracks act as busses, so any effects are added to the group and used as needed. I also have a “near” and “far” reverb on separate aux busses, to use for giving a distinct sense of depth to various instruments, which helps to “position” them into a simulated live orchestral setting, or just to create a choice of “space” for any production (see fig. 1). Read More
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